"Buddha machines on fire", made by Salakapakka Sound System, uses FM3 Buddha machine, various other Buddhist loop jukeboxes and various other sources as material. You can find loop players for sale at Buddhist temples around Asia. FM3 is Chinese based ambient duo who released their own version of loop jukebox.
First track on "Buddha machines on fire" CD-R is called Synteettinen munkki 1 (synthetic monk). Name is a word play. In Finnish language word munkki means monk and doughnut, it is also used as a slangy word meaning female breast. Both Synteettinen munkki 1 and 2 are basically looping and synthesizer improvisations. Both have been slightly edited (about minute cut off from the middle) and eq´d. No other post-processing made. Expect no beats or catchy melodies. This is slowly evolving stuff with pulsing synth and Buddhist chanting loops (reminds me a bit of early 70´s electric music - hence the name synthetic monk).
Second track Lo-fi Buddha is a long ambient piece which uses mostly FM3 loops, delay and hissing/scratching interference noises, that´s why it is called "lo-fi" (maybe I should call it garage ambient?).
Monk with no name is not a western rip-off as you may think. The basic backbone of this piece is shameless dance-oriented beat that slowly drifts back and forth between straight and reversed beatloop. Just like Kapina Tiibetissä is my rare excursion to metal, Monk with no name is just as rare example of electronic beat oriented almost-danceable music.
Kapina Tiibetissä (rebellion in Tibet) features uncommon combination of Buddhist chanting and death metal. This must be closest thing to metal that I´ll never make. That metal sound is made by combining small snippets of guitar riffs and pounding drum fills.
Delayed mantra is based on one short mantra loop and synth drone. Loop has been treated with alternating delay so sometimes it evolves into feedbacking distorted noise.
Street Buddha is a growing piece which includes various FM3 loops, material of chanting beggar monk, shopping mall noises and ringing bells I recorded during visit to Osaka.
Buddha doesn´t smile anymore is an easy ending for the album. Slowly drifting piece "for those early misty mornings".
February 13, 2009 Subject:
from Disquiet website
Certainly among the most thorough sets of Buddha Machine remixes must be Buddha Machines on Fire by Salakapakka Sound System, a Helsinki, Finland-based musician. Or make that Hell-sinki, as he puts it on his blog, at ikuinen-kaamos.blogspot.com. These are sourced from the first Buddha Machine, though at times Salakapakka utilizes small modulations that suggest the pitch bending that is part of the recent Buddha Machine 2.0 upgrade.
Though the original loops on the FM3-produced Buddha Machine are generally less than a minute in length, Salakapakka’s mixes range from five minutes to a dozen, each combining the loping cadences and heady synthesis of the FM3 material with various effects and sonic elements. For example, “Street Buddha,” the album’s penultimate track, add the tremulous, quasi-flamenco original (fans of the Machine will know which I mean) with street noise and chanting, before the piece expands into a chasm of echo. “Monk with No Name” suggests a gothic dance effort by Enigma or Dead Can Dance. “Delayed Mantra” adds heavy, noise-laden feedback, much of which is applied to a clip of a spoken prayer. Another, “Kapina Tiibetissä,” adds the thundering heavy metal; the translation of “Kapina” is explanation enough for what might otherwise sound like an inexplicable combination — the word means “rebellion.” Two particular favorites are “Lo-Fi Buddha” and “Buddha Doesn’t Smile Anymore,” both of which are among the album’s softest, most pleasant tracks, and are, for Buddha Machine regulars, tonally most of a piece with the source.
Salakapakka is a good guide through his own work. On the post in which he announced these mixes, he said the following of “Street Buddha”: “Street Buddha is a growing piece which includes various FM3 loops, material of chanting beggar monk, shopping mall noises and ringing bells I recorded during my visit to Osaka.”